As a devoted cinephile who has seen their fair share of cinematic masterpieces and disasters, I must confess that “Joker: Folie à Deux” left me more bewildered than entertained. It’s been years since I’ve been so thoroughly underwhelmed by a sequel. The original Joker movie was a fascinating character study, but this follow-up feels like a watered-down version, devoid of the intensity that made its predecessor so captivating.
Typically, when creating a sequel, you aim to amplify and intensify the original. However, Todd Phillips’ “Joker: Folie à Deux” adopts an unconventional method by scaling down the vibrant actions of Arthur Fleck (Joaquin Phoenix), as seen in “Joker,” making them more monotonous and dull. This choice is daring; we’ll see if it proves fruitful. Instead of leveraging the success that earned Phoenix his first Academy Award, “Joker: Folie à Deux” seems somewhat disorganized. The film disappointingly underutilizes Lady Gaga in a part that barely showcases her vocal talent and minimal screen presence, and throughout, it lacks emotional depth. During my viewing, there was a technical issue where we only heard audio and saw a black screen for the initial five minutes before they rectified it and replayed — in hindsight, that might have been the best part of the movie.
For a few years now, I’ve been waiting for another glimpse of Fleck, who we last saw entangled in a web of chaos. In “Joker: Folie à Deux,” he finds himself behind bars, awaiting judgment for the crimes he committed in the initial story. His lawyer (Catherine Keener) is trying to keep him from standing trial by arguing that he’s mentally unstable, an argument that Fleck initially accepts. However, when he encounters the unpredictable and pyromaniac Lee (Lady Gaga) during a music therapy session at Arkham, sparks ignite, reigniting within him the desire to embrace the Joker once more.
Todd Phillips: Architect of his own misfortune
In ‘Joker: Folie à Deux,’ Todd Phillips’ decisions often seem to undermine the overall quality. The movie starts off with an entertaining and witty scene featuring the Joker and his silhouette, reminiscent of Looney Tunes. Unfortunately, this vibrant opening sets a high bar that the rest of the film struggles to meet, appearing dull and sluggish in comparison. The film’s excessive focus on a court trial makes it challenging for viewers to engage with the story’s resolution, as it seems less action-packed than utilizing the iconic character in more compelling ways.
Even if you were entertained by Fleck’s exploits in the original film, it’s not as though you actually want him to win the trial. And this comes down to Phillips thinking that Fleck is a much more likable and sympathetic protagonist that he actually is — it’s possible to feel pity for him, but not much else. “Joker: Folie à Deux” was billed as a quasi-musical, but Phillips features the least imaginative musical sequences known to man. You could do anything with Joker in a wacky fantasy musical number, and instead he chooses to give us absolutely nothing. And furthermore, why even bother hiring Lady Gaga if you’re mostly going to make her whisper-sing? Does Phillips think that by handicapping her voice they can mask the fact that Joaquin Phoenix is outmatched and outgunned in the singing department?
The most annoying aspect is discovering numerous instances where different decisions could have significantly enhanced the movie: enhancing the magical elements within the musical scenes or delving deeper into Arthur and Lee’s relationship, for instance. However, Phillips shows no interest in these possibilities. Instead, he opts to hurl random plot points at the screen, seemingly enjoying the dreary gloom of Arthur’s prison life as time stretches interminably. Watching this movie is like wading through molasses, and by the end, you might feel as if you’ve spent weeks in that cell yourself.
Catnip for incels
In a notable turn of events, Todd Phillips faced criticism for the overwhelming appeal of “Joker” among young, disillusioned white males. However, the upcoming film “Joker: Folie à Deux” is expected to be less politically charged. Unfortunately, this new movie won’t likely quell the accusations of promoting incel (involuntary celibate) ideology or propaganda. Phillips seems compelled to devote a significant portion of screen time to portraying Fleck in a castrating manner, such as during the trial where characters insinuate that he is a virgin and an incompetent driver. Although there are hints of Fleck understanding that his supporters idolize the Joker character rather than him personally, there remains a considerable amount of unsettling hero worship directed towards him.
The first “Joker” movie was not my cup of tea — I found its politics and its depiction of the Joker incredibly frustrating. But at least that film, for better or worse, had a point of view and a narrative voice. “Joker: Folie à Deux,” by contrast, hardly feels like a movie at all. It’s a collection of half-baked ideas at best, with absolutely nothing worth caring about from start to finish (except for the Looney Tunes cartoon at the beginning, which is a clear highlight). Every single plot element is underdeveloped, there are no emotional stakes within a mile of the entire production, and any analysis of its characters feels like pop psychology written in crayon. Even fans of “Joker” are unlikely to find much to redeem this chaotic, profoundly stupid mess.
“Joker: Folie à Deux” hits theaters on October 4.
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2024-10-04 00:59